textiles gcse coursework

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GCSE Art and Design

8201, 8202, 8203, 8204, 8205, 8206

• Specification
• Planning resources
• Teaching resources
• Assessment resources
• Introduction
• Specification at a glance
• 3.1 Knowledge and understanding
• 3.4 Art, craft and design
• 3.5 Fine art
• 3.6 Graphic communication

3.7 Textile design

• 3.8 Three-dimensional design
• 3.9 Photography
• 3.10 Progression
• Scheme of assessment
• Non-exam assessment administration
• General administration

Textile design is defined here as the creation of designs and products for woven, knitted, stitched, printed or decorative textiles that might have a functional or non-functional purpose.

Areas of study

In Component 1 and Component 2 s tudents are required to work in one or more area(s) of textile design, such as those listed below:

• a rt textiles
• f ashion design and illustration
• c ostume design
• c onstructed textiles
• p rinted and dyed textiles
• s urface pattern
• s titched and/or embellished textiles
• s oft furnishings and/or textiles for interiors
• d igital textiles
• i nstalled textiles.

They may explore overlapping areas and combinations of areas.

Knowledge, understanding and skills

Students must develop and apply the knowledge, understanding and skills specified in the Subject content to realise personal intentions relevant to textile design and their selected area(s) of study.

The following aspects of knowledge, understanding and skills are defined in further detail to ensure students’ work is clearly focused and relevant to textile design.

Knowledge and understanding

The way sources inspire the development of ideas, relevant to textile design including:

• how sources relate to cultural, social, historical, contemporary, environmental and creative contexts which might be determined or influenced by functional or non-functional considerations
• how ideas, feelings, forms, and purposes can generate responses that address personal needs or meet external requirements, such as client expectations and any associated constraints.

The ways in which meanings, ideas and intentions relevant to textile design can be communicated include the use of:

• figurative and non-figurative representations, stylisation, simplification, surface embellishment, constructional considerations and imaginative interpretation
• composition

Within the context of textile design, students must demonstrate the ability to:

• appliqué
• construction methods
• textile materials
• digital imagery.

Technical Textiles

These are textiles that have had their fibres spun in a way that makes them enhanced fabrics. For example conductive fabrics, fire-resistant fabrics, kevlar and microfibres incorporating micro-encapsulation.

• Gore-Tex is a thin membrane in between an outer material and liner.
• Gore-Tex is waterproof, windproof, and breathable which allows moisture to escape whilst keeping it away from the body.
• These materials are commonly used in outdoor clothing such as ski wear, mountain wear, walking boots, gloves and sportswear.

Poly-paraphenylene terephthalamide (Kevlar)

• Kevlar is a yellow/gold natural material which can be coloured and weaved to form a fine coarse structure.
• Extremely strong, hard-wearing, cut and tear-resistant, high thermal protection, non-flammable with good chemical resistance.
• This material is commonly used in body armour, helmets, bulletproof vests, safety clothing, extreme sports equipment, audio music and musical instruments.

Conductive fibres and threads

• A conductive thread is a silvery thread or fabric that can be woven or sewn into textile designs.
• This thread can pass an electrical current along its length linking electronic components and allows for flexible, wearable technology.
• This material is used in the connection of wearable technology, Bluetooth connectivity and speakers in clothing, children’s electronic toys and anti-static clothing.

Fire-resistant fabrics

• This fabric is a close woven textile that can be coloured.
• This thread can resist heat and ignition from a naked flame.
• This material is used in fire blankets, firefighter’s safety clothing, gloves, aprons and racing car driver protection.

Microfibres and micro-encapsulation

• Microfibres are a fine synthetic woven fibre that can be coloured.
• This fibre can be statically charged to pick up dust, filter particles and is absorbent yet fast drying.
• These materials are commonly used in medical textiles, fabrics, cloths, towels, high tech clothing which can be anti-bacterial and insect repelling.

1 Core Technical Principles

1.1 New & Emerging Technologies

1.1.1 Industry

1.1.2 Enterprise

1.1.3 Sustainability

1.1.4 People

1.1.5 Culture & Society

1.1.6 Environment

1.1.7 Production Techniques & Systems

1.1.8 Emerging Technologies & Design

1.1.9 End of Topic Test - New & Emerging Technologies

1.1.10 Exam-Style Questions - Emerging Technologies

1.2 Energy Generation & Storage

1.2.1 Fossil Fuels & Nuclear

1.2.2 Renewable Energy

1.2.3 Energy Storage Systems

1.3 Developments in New Materials

1.3.1 Modern Materials

1.3.2 Smart Materials

1.3.3 Exam-Style Questions - Smart Materials

1.3.4 Composite Materials

1.3.5 Technical Textiles

1.4 Systems Approach to Designing

1.4.1 Inputs

1.4.2 Processes

1.4.3 Outputs

1.4.4 Looped Systems

1.5 Mechanical Devices

1.5.1 Types of Movement

1.5.2 Levers

1.5.3 Linkages

1.5.4 Rotary Systems

1.5.5 End of Topic Test - Designing & Mechanical Devices

1.6 Materials Categories

1.6.1 Timbers

1.6.2 Metals & Alloys

1.6.3 Metals & Alloys 2

1.6.4 Polymers

1.6.5 Polymer Types

1.6.6 Textiles

1.6.7 Textile Types: Fibres

1.6.8 Textile Types: Weave

1.6.9 Paper & Boards

1.7 Material Properties

1.7.1 Physical & Working Properties

1.7.2 End of Topic Test - Materials

1.7.3 Exam-Style Questions - Materials

2 Paper & Board: Specialist Technical Principles

2.1 Selection of Materials

2.1.1 Paper & Boards

2.1.2 Working with Paper & Boards

2.2 Paper & Board: Forces & Stresses

2.2.1 Paper & Board: Forces & Stresses

2.2.2 Cardboard & Paper

2.3 Paper & Board: Ecological & Social Footprint

2.3.1 Paper & Board: Ecological & Social Footprint

2.3.2 Paper & Board: The Six Rs

2.3.3 Social Issues

2.4 Paper & Board: Sources & Origins

2.4.1 Paper & Board

2.4.2 End of Topic Test - Paper & Board

2.5 Paper & Board: Using Materials

2.5.1 Paper & Board: Properties of Materials

2.5.2 Paper & Board: Modification of Materials

2.5.3 Paper & Board: Shape & Form

2.6 Paper & Board: Stock Forms, Types & Sizes

2.6.1 Paper & Board: Forms

2.6.2 Paper & Board: Types

2.6.3 Paper & Board: Sizes

2.6.4 Paper & Board: Standards Components

2.7 Paper & Board: Scales of Production

2.7.1 Paper & Board: Scales of Production

2.7.2 Exam-Style Questions - Scales of Production

2.8 Paper & Board: Specialist Techniques & Processes

2.8.1 Paper & Board: Techniques & Processes

2.8.2 Paper & Board: Quality Control

2.9 Paper & Board: Surface Treatments & Finishes

2.9.1 Paper & Board: Surface Treatments & Finishes

2.9.2 End of Topic Test - Specialist Techniques

3 Timber: Specialist Technical Principles

3.1 Timber: Selection of Materials

3.1.1 Timber Based Materials

3.1.2 Timber: Environment & Ethics

3.2 Timber: Forces & Stresses

3.2.1 Timber: Forces & Stresses

3.2.2 Timber

3.3 Timber: Ecological & Social Footprint

3.3.1 Timber: Ecological & Social Footprint

3.3.2 Timber: The Six Rs

3.3.3 Timber: Social Issues

3.3.4 Exam-Style Questions - Timber

3.4 Timber: Sources & Origins

3.4.1 Timber

3.4.2 Timber: Processing & Seasoning

3.4.3 Manufactured Board

3.4.4 End of Topic Test - Timber

3.5 Timber: Using Materials

3.5.1 Timber: Properties of Materials

3.5.2 Timber: Modification of Materials

3.5.3 Timber: Shape & Form

3.5.4 Timber: Shape & Form 2

3.6 Timber: Stock Forms, Types & Sizes

3.6.1 Timber: Stock Forms, Types & Sizes

3.7 Timber: Scales of Production

3.7.1 Timber: Scales of Production

3.8 Timber: Specialist Techniques & Processes

3.8.1 Timber: Tools, Equipment & Processes

3.8.2 Timber: Tools, Equipment & Processes 2

3.8.3 Timber: Quality Control

3.9 Timber: Surface Treatments & Finishes

3.9.1 Timber: Surface Treatments

3.9.2 Timber: Finishes

3.9.3 End of Topic Test - Specialist Techniques

4 Metal: Specialist Technical Principles

4.1 Metals: Selection of Materials

4.1.1 Metal-Based Materials

4.1.2 Ferrous Metals

4.1.3 Non-Ferrous Metals

4.1.4 Alloys

4.1.5 Metals: Environment & Ethics

4.2 Metals: Forces & Stresses

4.2.1 Metals: Forces & Stresses

4.3 Metals: Ecological & Social Footprint

4.3.1 Metals: Ecological Footprint

4.3.2 Metals: Social Footprint

4.3.3 Metals: The Six R's

4.3.4 Metals: Social Issues

4.4 Metals: Sources & Origins

4.4.1 Origins of Metal

4.4.2 Processing Metals

4.5 Metals: Alloy-Based Materials

4.5.1 Types of Metal Alloys

4.5.2 Alloying Elements

4.5.3 Properties & Benefits

4.5.4 Processing & Fabrication

4.5.5 Applications of Alloys

4.5.6 Metal Alloys in Industry

4.5.7 Applications of Metal Alloys

4.6 Metals: Using Materials

4.6.1 Properties of Metals

4.6.2 Modification of Metals

4.6.3 Metals: Shape & Form

4.7 Metals: Scales of Production

4.7.1 Metals: Scales of Production

4.8 Metals: Specialist Techniques & Processes

4.8.1 Metals: Tools

4.8.2 Metals: Tools & Equipment

4.8.3 Metals: Cutting, Forming & Machining Processes

4.8.4 Metals: Joining, Casting & Heat Treatment Process

4.9 Metals: Quality Control

4.9.1 Metals: Quality Control

4.9.2 Metals: Quality Control Processes

4.10 Metals: Surface Treatments & Finishes

4.10.1 Metals: Surface Treatments

4.10.2 Metals: Surface Treatments for Metals

4.10.3 Metals: Finishes

4.10.4 Metals: Finishing Techniques for Metals

5 Polymers: Specialist Technical Principles

5.1 Polymers

5.1.1 Polymers: Functionality & Aesthetics

5.1.2 Polymers: Environment & Ethics

5.1.3 Polymers: Sources, Origins & Properties

5.1.4 Polymers: Forces & Stresses

5.1.5 Polymers: Ecological & Social Footprint

5.1.6 Polymers: The Six R's

5.2 Polymer Categories

5.2.1 Categories of Polymers

5.2.2 Thermoforming Polymers

5.2.3 Thermosetting Polymers

5.3 Polymer Forms

5.3.1 Polymers: Stock Forms

5.3.2 Polymers: Shape & Form

5.4 Polymer Production, Techniques & Quality Control

5.4.1 Polymers: Scales of Production

5.4.2 Polymers: Specialist Techniques & Processes

5.4.3 Polymers: Quality Control Systems: Tolerance

5.4.4 Polymers: Finishes

6 Textiles: Specialist Technical Principles

6.1 Textile Materials

6.1.1 Origin of Textiles

6.1.2 Textile Industry

6.2 Selection of Materials

6.2.1 Natural Fibres

6.2.2 Synthetic Fibres

6.2.3 Environmental Concerns

6.2.4 Environmental Impact

6.2.5 Ethical Challenges

6.3 Forces & Stresses

6.3.1 Forces & Stresses

6.4 Ecological & Social Footprint

6.4.1 Ecological Footprint

6.4.2 Social Footprint

6.4.3 Addressing Ecological & Social Footprints

6.4.4 The Six R's

6.4.5 Labour Conditions

6.4.6 Social Issues

6.4.7 Addressing Social Issues

7 Designing & Making Principles

7.1 Investigation & Data

7.1.1 Iterative Design

7.1.2 Primary & Secondary Data

7.1.3 Market Research

7.1.4 Ergonomics

7.1.5 Specifications

7.1.6 End of Topic Test - Investigation & Data

7.1.7 Exam-Style Questions - Specifications

7.2 Environmental, Social & Economic Challenges

7.2.1 Challenges

7.2.2 Your Research

7.3 The Work of Others

7.3.1 Designers

7.3.2 Architects

7.3.3 Product Design

7.3.4 Industrial Designers

7.3.5 Product Design Companies

7.3.6 Textile Design Companies

7.3.7 End of Topic Test - The Work of Others

7.4 Design Strategies

7.4.1 Design Strategies

7.5 Communication of Design Ideas

7.5.1 Design Communication

7.6 Prototype Development

7.6.1 Prototype Development

7.7 Selection of Materials

7.7.1 Materials

7.8 Tolerances

7.8.1 Tolerances

7.9 Material Management

7.9.1 Managing Material

7.9.2 Tools

7.10 Specialist Equipment

7.10.1 Health & Safety

7.11 Specialist Techniques & Processes

7.11.1 Specialist Techniques & Processes

7.11.2 Surface Finishes

7.11.3 End of Topic Test - Designing & Making

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Textiles GCSE

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Ms. L. Robson

Head of department.

Careers in Textiles

Examining Board AQA

“At a time when real damage is occurring to arts education, I want to point to how substantially its creative power lights the path to our future, [fashion] is the second most profitable industry in the world. I think it’s really important to make a statement.” Richard Quinn   MA Fashion, Central Saint Martins, UAL

2023 results: Progress 8 score: 1 whole grade value added on average per student.

At GCSE, we offer a successful and evolving course that combines traditional skills with contemporary practice:

Designing and making your own fashion garments eg. T-shirts, corsets, bags, belts, hats, shoes, jewellery, jackets. Engaging with contemporary makers in print, stitched textile art, embroidery, soft sculpture, installation, craft, interiors and fashion.

Designing and constructing your own fabrics using silkscreen printing, weaving, stitching, batik, dyeing and felting. Surface pattern and print. Photoshop and 2D design CAD skills.

• FASHION STYLING & PROMOTION

Setting up and styling fashion shoots, taking your own photographs and editing them for use as magazine covers or promotional material.

• SUSTAINABLE DESIGN

Ethical principles, environmental concerns, upcycling, refashioning and customising garments.

Course structure:

UNIT 1 and 2: Coursework:

Topics vary in response to current exhibitions /museum/ gallery learning.

Genres: Print and Pattern, Costume, Textile art, Fashion, Accessories, Illustration and Interiors.

Visual and contextual research. Responding to artists, designers and makers. Learning practical skills and experimenting with materials.

Presenting a personal response (final piece) based on prior research and experimentation/ planning.

Final piece(s)

2 x approx.10 hour personal responses produced under exam conditions. Coursework workshop days in Year 10 and 11.

Extra- curricular opportunities offer practical workshops and sketchbook skills, coursework support and specialist practitioner visits; eg. Sew Jessalli, Blandford. AUB summer shows, gothic fashion and historical costume loan: Blandford fashion museum, V&A online.

Unit 3: Externally set task

Students choose a theme from an exam paper set by the exam board in January of year 11. Responding to the four assessment criteria understood throughout the course they research, record, experiment and develop ideas towards the personal final piece produced under exam conditions in a ten hour practical exam around Easter of Year 11 when the course finishes.

WHY TEXTILES?

Fantastic results: Textiles GCSE was the top scoring P8 subject 2020

It is creative, messy and FUN! We leave the classroom. We make things. We work collaboratively. There is no written exam .

85% Level 4-8    100% A* – B A Level

TRIPS, VISITS & WORK EXPERIENCE

Blandford Fashion Museum, The Victoria and Albert Museum, The Stitch Show, AUB Summer Show, Sew Jessalli, Kyleigh’s papercuts, Just William

LOCAL and NATIONAL COMPETITIONS, PRIZES

The Clothes Show

The Valter Trust- Cockbaine Shield winners for design innovation 2019

Dorset Asset Trust- regional Textiles prize 2018 and 2019.

ANNUAL FASHION SHOW and EXHIBITION

NSEAD 2017 : UK Fashion industry employs 800,000 people

Fashion and textile industry contributes £66 billion to the economy.

This is a qualification that will help you access higher-level creative courses

(e.g. ‘A’ Level Fashion & Textiles, Art & Design, Photography, Graphics etc.), or employment and apprenticeships in the creative sector:  e.g. Retail/visual merchandising, designer/maker, fashion buyer, advertising and branding, costume.

Graduate alumni Aleksandra Dyka: BA Fashion Winchester School of Art

Graduate Fashion Week, London 2023

https://www.graduatefashionweek.com/search-portfolios/aleksandra-dyka

Contact:        Ms. L. Robson – Head of Textiles

Fashion futures: Our students have gone on to study at degree level via our Year 14 BTEC Foundation Art course; London College of Fashion, Winchester School of Art, De Montfort, Manchester, UCA.

Curriculum Content of each academic year

Textiles Careers Information

Fashion and Textile students are skilled practitioners who can work with a range of materials and techniques; carry out visual research and generate original ideas. They can evaluate and reflect critically on work, understand design principles relating to colour, texture and pattern and contextualise their ideas culturally and historically. Studying textiles can lead to a diverse range of creative careers in the fashion and textile industries including print, knit, weave, digital, photography, retail, interiors, furnishing, product, materials, fashion, props, theatre and costume design/ construction. From weaves and dyes to stitches, silhouettes and tailored cuts – if you study fashion and/or textiles you’ll need an artistic eye, attention to detail and impeccable skill. Design has the power to change the world, the potential to affect positive change and innovate in sustainable futures contributing to our climate change revolution.

“If the UK’s creative industries are to continue to be world-leading….studying the arts improves students’ grades across the board, too, and equips young people with the skills required in a future job market. After all, in a world of growing automation, creativity is what makes us human”

Rt Hon Ed Vaizy, MP

Labour Market Information (LMI):

Statistics shown here reflect the potential for the study of Textiles to lead to lucrative and fulfilling careers. The “UK fashion industry currently employs 800,000 people and is worth £66 billion to the UK economy.” NSEAD 2017 National Society for Educators in Art and Design

The pandemic has sparked discussion around the future of fashion, providing a platform for a more ethical model for the industry. Changing consumer habits and awareness of personal responsibility reflect exciting new developments in the fashion and textile industries. The following sites show useful business forecasts and reflect current industry stats. https://www.ukft.org/business-advice/industry-reports-and-stats/

https://www.britishcouncil.org/research-policy-insight/insight-articles/power-fashion

The LMI for All portal provides high quality, reliable LMI information – see link below: https://www.lmiforall.org.uk/

Pathways Example Post 16

Level 2 Students can apply for apprenticeships such as manufacturing operatives

Level 3 A Level Textiles

Individuals can enter employment with level 3 qualifications or continue to develop by studying level 4.

Level 4 BTEC National Diploma in Foundation Studies in Art and Design leads onto diverse range of Undergraduate Degree options at University or Apprenticeships in specialist fields.

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Textiles – GCSE coursework.

Jan 04, 2020

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Textiles – GCSE coursework. Abbie Sidaway. What different techniques could I use on my product?. Task Analysis.

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• clothes show
• current fashion
• environmentally friendly
• college fashion show
• current fashion price range

Presentation Transcript

Textiles – GCSE coursework. Abbie Sidaway.

What different techniques could I use on my product? Task Analysis I will research on the internet about different techniques and methods I will look in a range of fashion books and look at the different techniques which have been used on other clothing. What are the issues associated with the textile industry? What products have been designed already which do not harm people or environment? I will go onto the internet and look at ethical and environmental information. I will look at books and leaflets that are in the textiles room. Also I will look on ‘student read’ as I know there is lots of good information on there. I will visit a shop which is located in Selby, this shop specialises in recycled materials which are designed into new dresses. I will look on the internet and find out about already existing product. • What I already know – • I know that the “Clothes Show live” has college fashion shows there so whilst im there, I will take some photos of the clothes and analyse the designs.. • How they’ve designed it? • What techniques have been used • What materials have been used? • By doing this it will help me understand how designers design their clothes. • Also it will help me as I it will help me to improve my own designs. • There are also stands which sell retro & reused materials clothes which will give me some good ideas for when I design my product. What fashion designers are big and are into using old fabrics? I will research on the internet about some different designers. Also what things they have achieved.I will be going on a school trip soon to “the clothes show” which has a lot of designers clothes, I will look at the components used for the existing products. This will increase my knowledge of fashion. Design brief .. Design and make a product from textiles that will not harm people or environment. The product will be sold on a internet site which specialises in products that are environmentally friendly, for e.g. I could use materials, from organic or ethical sources or with logos and designs that highlight ethical messages.

‘HARMONIZING’ Mood Board. ‘INSPIRE’

Research into Sustainability and Textiles The issues I have decided to research about the environment issues in the textile fashion industry, as I am using denim in my design. Designers and customers are not thinking about the materials they are using/buying. While designers are making products the environment is getting seriously damaged. Whilst I was researching about the fashion industry I found out, how we was damaging our environment how we could prevent this in the future. Child labour - Whilst researching about the issues in the fashion industry I found out that young children are from poor countries. In a single workshop, 12 boys between the ages of 8 and 16 will work for 14–16 hours daily, collecting cotton from cotton plants, and sewing things getting only the smallest of wages. Tie Dyeing – Clothing manufactures are dumping the dyes into our rivers destroying our wildlife and rivers. The fish in the rivers are dying and the rivers are turning into sludge. If we are going to save our rivers and wildlife we need to stop dumping dye into our rivers, so if we recycle our old clothes and encourage designers to use recycled materials we will not have to use dye, which end up in our rivers. These outfits have been designed using old, used materials. This means it is sustainable as they have used recycled materials rather than new. The first outfit has been made from old newspapers. The second dress has been made from old coats. Obviously these are not to wear but for the media. The designers are trying to get it across that it is easy to reuse your old products.

Visiting ‘Clothe Show Live’ helped me with this project as it gave me an idea of what to do with my product. Watching the fashion show gave me knowledge about the current fashion, and what is in at the moment. When I was looking around at the college stalls it made me notice how much effort is needed. I could see the detail that had been put into the garments, which made it look professional. I noticed that there was a number of organic, and environmentally friendly clothes being sold which means there is a large market for this, and many people were prepared to buy these products. Overall, my experience gave me a lot of ideas for my designs, I know have ideas about what colours harmonise with each other and what colours clash and what styles have a high market for. Clothes Show Live 2009.

Internet research I have gone onto the internet and looked for college textile products to gather an idea of quality, style and techniques of product been made in the current fashion status. Tulle skirts have seemed to dominate the work of these students at colleges. I have noticed the high nature of quality in these garments, and also the originality that has been put in to these designs. The students in colleges use a range of materials. Especially recycled and environmentally friendly materials which I have found are commonly used. I know this as I have recently visited ‘The Clothes Show Live’ where there is a lot of college fashion show. One particular show the student focused on recycled materials but still kept the uniqueness and stylish factor to their garments.

Jackson Pollack - Inspiration The work of Jackson Pollack Paul Jackson Pollock (January 28, 1912 – August 11, 1956) was an influential American painter and a major figure in the abstract expressionist movement. The design of his painting had no relation to the shape or size of the canvas -- indeed in the finished work the canvas was sometimes docked or trimmed to suit the image. All these characteristics were important for the new American painting which matured in the late 1940s and early 1950s. He was strongly supported by advanced critics, but was also subject to much abuse and sarcasm as the leader of a still little comprehended style; in 1956 Time magazine called him `Jack the Dripper'. Jackson Pollack inspired me as his art work reflect freedom, he used the paint to express his feelings. He did his art work by dripping the paint in a way to make it look crazy, his work was very unique.

Analysis of research. I decided to create a mood board to give me an ideas for my bodice which I am currently designing. I used modern and quirky photos with harmonizing colours of blue tones which really inspired me, and gave me ideas for what I want my garment to look like. My visit to ‘The Clothes Show Live’ gave me more knowledge about the current fashion and an incite into colleges and I got to see the designs and the process of how they design, create and make their designs unique. Also it gave me an idea of what the current fashion price range is at, I found that garments at the moment are at a reasonable price, and is affordable. The tulle skirt is a very popular garment and is found in most high streets, I know this because whilst visiting London in the holidays, I went into the high street shops including, River island, Top shop and H&M. After researching about the issues which the fashion industry is facing I now understand about how fashion and the process of garment making is affecting the environment. In further research I found out how other designers over come this by using fair trade materials and also using recycled materials. I will make sure that my product is environmentally friendly. I found internet research useful because it was really quick and I could do it at school, and could access a lot of information at once. I was also able to look at construction, detail, fabrics, components, target groups and finally cost. The pieces that I copy and pasted where linked to recycling in a very high profile way. The research I did that was primary was the college student stand. I did this piece of research because I found that I was inspired by the quality and abstract nature of the pieces. Overall, I feel that my research albeit was limited it was all relevant and informative.

Design Specification Function/Purpose. • The product will be designed and made for any teenage girls, aged around 14-18years old. • It will be a fashionable and detailed bodice which would be worn for special occasions'. • It will make teenagers feel feminine and feel like they are unique. ‘stand out from a crowd.’ Aesthetic and functional characteristics. • The bodice will be unique and creative, the main colours which I will be using are; Blues Greens Purples. • The top must be practical and comfortable to wear. • The components which I will be using must be strong, so that nothing falls off. • It must appeal to the target market, that I am aiming at, teenagers to young professional and modern women. • The final design will be created by using a mixture of techniques such as: Different types of sewing techniques Bead work Appliqué Dye effects. Target market and consumer requirements. • This product are aimed at females aged14-30 • It is required to be fashionable, and to be a fashion statement piece. • It must be reasonably priced for the target market. • The bodice must suit the seasons fashion trend, and could be marketed with a range of garments and accessories so that it looks convincing to the buyer. • The garment will be made to last and will be ‘fit for the purpose’. Time and resources • Resources used to make this product must be colourful and good quality. • Resources must be relevantly cheap, since the product id going to be a mass product. • Resources must be simple to assemble; otherwise it would be a struggle to keep to deadlines.

Designs one Firstly, I experimented with colours and different styles. I tried to find colours which I wanted to use that harmonized. I decided to design a bodice, and use colours, Blues, Purples and Greens.

This design would have a range of techniques, it would be a simple but stylish bodice. Down the front a zip will be attached to give the top a modern feel to it. Designs Two The components which would be used on this design will be bead work. Also it will be made by using cotton dyed indigo blue, using the cold water dyeing method The first bodice design, has a lot of detail on the chest area. It would have blue frill with a light blue bow in the centre. The bodice will be very shaped by the boning.

Designs Three

This design is one of my favourites as I think it would be very marketable, and would sell in today's fashion industry. This bodice is simple but stylish. Also it is very sustainable, because it can be easily recycled, as it would be made my denim.

I decided to make this design as it inspired me, also I think the front panel would look very abstract. I could be creative with this design. This design is also is very marketable.

Appliqué These pieces have been created using TIE DIE. The method – First I cut out a piece of fabric, then I scrunched it up into a ball and tied elastic bands around randomly. When I had done this and made sure the bands were tight enough, I dropped them into a dish of die. I used three different tones of blue to create this effect. After this i then left the fabric to dry I repeated this process another time to give it more colour. I found this method easy to do and every time it comes out different this is what I like about this type of style, its unique itself every time. I would like to use this in my product as I like the effect that is given. The method – firstly, I cut out a piece of denim. I then cut out the separate pieces which I had drawn out on the fabric. Then I placed the pieces onto the denim and sew it on with a zigzag stitch. This was my first time using appliqué, I found it hard at first but after a while I got used to it. I could improve this method by practicing and taking more time on it. Then I would get a better and neater finished product.

Techniques – cording and sewing using the embellishers and computerised sewing machine

Components Evaluation of techniques and suggested alternatives I think sewing on the cording went well, to say it was my first try. This technique looks abstract which makes it different and unique. I think this styles fits the look I am going for very well. I believe this will appeal to my target market. The colours and textures I have used work well together and create a unique, crazy style. This is my first try at the pattern.

Washing symbols; Wash Care Labels. Tumble dry Washing at 30ºC Iron on low heat Cotton wash Synthetic wash Wool wash Hand wash Do not wash

Production Plan

Production plan two.

Bodice. Pattern pieces and layout plan Working drawing Side panels. Back Front Back panels. Materials + components Eyelets Stainless steel Cotton Yard Boning ribbon Interfacing Beading Front Wash care labels. Machine + stitch settings Zig Zag Straight. Costings Cotton 1m = £1.99 Cord = 50p Bones = £1.00 Yarn = 50p Ribbon = £1.00 Beads =£1.50 TOTAL = £6.49 40◦c

Flow Chart. Turn the correct way START. Sew front and back together. Pin pattern pieces together. Iron and add eyelets. Make sure front and back are equal NO Check both sides are equal NO Pin lining. FINISH. Sew pattern pieces.

Front Back Components: used; Turquoise ribbon Navy ribbon Silver SS eyelets Nylon bonding Navy/deep blue treads Computerised machine

Public Opinion. When my product was finished, I went into the public and asked what they thought. “I think this style is very marketable and would be suitable for teenagers as it is very fashionable.” “This stand out from a crowd. The techniques which have been use are very well done. I love the detail which has been added to the front panel.” “Very attractive, I would defiantly love to see my girlfriend wearing this. I love the colours and it is sassy and sexy. I think this is very successful. “

Final Product Bones Pattern pieces.

Final Product Cord. Eyelets and Ribbon.

Final Evaluation At the beginning of this project is set out to work with a team of two other students to make a range of products which could be worn together or separate. My job was to design and make the top part of the outfit. After research and a lot of sketches I decided to make a bodice. This bodice was going to be something different and quirky, this is when I started to research different artist. I saw a range of artwork by Jackson Pollack which really inspired me and gave me some crazy ideas of what I could create. After looking on the internet at various websites and also looking in the school textile book, I decided to use different shades and tones of blue, green. I found that they complemented each other and work well together. As well as been inspired by Jackson Pollack, The colours of the sea also inspired me. I like the different of tones as I have shown in my mood board. Deciding on the components I was going to use the easy part, I knew exactly what I wanted to use however I did research the components to see how they worked and the best way to use them. Before starting on the techniques I used I looked around at exciting product, magazines and again the internet to see what works together and which techniques I would like to use. There were certain aspects of the research that was really helpful, the internet was a real help as used this type of research a lot and it gave me load of information. Going to the Clothes Show in Birmingham was one of the best experiences and it gave me so much knowledge about the current fashion and also what college students are up to and how they produce their products. The fashion shows which was going on there also gave me a lot of ideas of what style or look I wanted to betray. The only thing I regret was not taking any photos of the shows, this would have gave me a lot of help and more to work with. In the making of my product there way one problem, when I had sewn all the bones into place there where not quite the same on each side, to overcome this problem I had to unstitch the fabric on one side and re sewn it into place. The reason why I changed this was that if each side wasn’t the same the quality of my product would have decreased and I wanted the quality of my Bodice to be at the highest. In the end I decided to work on my own instead of working as a group as one of the students recently moved away and we decided that if we still did it in a group of two the product would not be as detailed as we would be doing no one but two products. My bodice came out just how I imagined it, and the front panel looks really abstract, this makes the whole bodice unique.

To make sure that my product appealed to the target market I asked some public what they though about my product and if they would buy it if sold in the high street. The results I got back where positive with some comments about what would make it even better, If this bodice was to be sold as a ‘small batch’ then I would change some things on the production line, The only thing which I would change would to make the side panels a little longer to cover the hips, I initially wanted the bodice to finish at the hips but I must have made a measuring error and it now goes over the hips instead. I believe this bodice could be part of a clothes range and could easily be made in different colours. If my product was to be made in the industry it would be made exactly how have done but in larger sizes and also with special machines, It would be made on a production line with machinery to speed up the production. My product does suit the design brief, it is environmentally friendly, as it is made from all 100% natural fabrics and also it has a long life span.

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Textiles - GCSE Art Textiles Study Guide for Students

Subject: Art and design

Age range: 14-16

Resource type: Unit of work

Last updated

15 May 2019

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Course Length

One or two years.

GCSE Textiles is an expressive and exciting course. The initial two terms are spent on experimentation and an expressive approach to creating surfaces. Projects include concept analysis, investigation development, drawing skills and surface manipulation. Printmaking and construction techniques can also form a final piece in a unit and you will be expected to attempt these media. Work must be documented and researched using sketchbooks and supporting studies. In the Summer Term, you will complete your personal portfolio, which is one of the two coursework units on which you’ll be assessed. The other is an externally-set assignment which you will have the end of the course.

You will learn a variety of skills. You will learn how to undertake visual research using primary and secondary sources and record observations, experiences and ideas in appropriate ways. You will learn how to develop and realise ideas and outcomes, explore and review possible solutions and modify your work appropriately. You will come to understand and use appropriately and safely a range of materials, equipment, processes and techniques. Finally, you will become familiar with a range of work from past and contemporary practice and from different cultures, so that you are able to demonstrate an understanding of continuity and change in textiles design.

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Personal Details

I am interested in..., what skills do i need.

Students entering this course should ideally have achieved a general educational level equivalent to National Curriculum Level 3. The course will suit you if you are creative, enthusiastic and imaginative and want to communicate your ideas and opinions via mixed media textile application and design. You should enjoy learning how to use different processes to develop your visual skills, and should be willing to experiment and take risks with your ideas.

How is the course assessed?

The coursework is divided into two units. Unit 1 (Personal Portfolio in Textiles) is the coursework you complete over the course of the year. It is completed and internally assessed – usually before the end of May – followed by a visit by an external assessor who moderates the marks. The assessment takes the form of a small exhibition in the art department. It amounts to approximately 45 hours of supervised activity and is worth 60% of the marks. For Unit 2 (Externally Set Assignment), an exam is set early in the Summer term. This work is completed by May. It is amounts to approximately 30 hours of supervised activity including ten hours of sustained focus and is worth 40% of the total.

5000 Years of Textiles By J. Harris Published by BMP, ISBN 978-0714150895

Radical Fashion at the V&A By C. Wilcox

Exam Board and Specification Code

Pearson-Edexcel 1TE0

Greg Ioannou Head of Department

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Margaret Ritchie School of Family and Consumer Sciences

Margaret ritchie school of family & consumer sciences.

University of Idaho

Physical Address: Mary Hall Niccolls Building, Rm 103 751 Campus Drive

Mailing Address: 875 Perimeter Dr. MS 3183 Moscow, ID 83844-3183

Phone: 208-885-6546

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Apparel, Textiles and Design, B.S.

Career information is not specific to degree level. Some career options may require an advanced degree.

Current Job Openings and Salary Range

in ID, WA, OR, MT and HI

Entry-Level

Senior-Level

• Career Options
• Sales Manager
• Art Director
• Fashion Designer
• Merchandise Displayer and Window Trimmer
• First-Line Supervisor of Retail Sales Workers
• Sales Representative, Wholesale and Manufacturing, Except Technical and Scientific Products
• Tailor, Dressmaker, or Custom Sewer
• Textile Cutting Machine Setter, Operator, and Tender
• Textile Knitting and Weaving Machine Setter, Operator, and Tender
• Textile Winding, Twisting, and Drawing Out Machine Setter, Operator, and Tender
• Fabric and Apparel Patternmaker

Regional Employment Trends

Employment trends and projected job growth in ID, WA, OR, MT & HI

*Job data is collected from national, state and private sources. For more information, visit EMSI's data sources page .

• Degree Prep

To prepare for courses required to earn a degree in apparel, textiles and design, we recommend you:

• Learn to sew, weave or knit
• Watch the movie The True Cost
• Work in retail of any kind
• Start a sketchbook with your ideas
• Subscribe to fashion magazines
• Follow fashion influencers on social media
• Degree Roadmap
• Sample 4-year plan (pdf)

Course descriptions and up-to-date program requirements can be found in the U of I General Catalog .

To find out about deadlines and eligibility requirements, please visit the University of Idaho Financial Aid office .

• Scholarships

Over 400 scholarships are offered exclusively to College of Agricultural and Life Sciences (CALS) students based on GPA and other qualifications.

You can find general need- and merit-based scholarships on the Financial Aid office's scholarships page .

• Hands-on Learning
• Learn to build apparel products from the ground up
• Experience real-world product development scenarios
• Engage in product design for a client
• Produce a fashion event
• Solve problems as part of product team
• Professional Development
• Expand global perspectives by studying abroad
• Embark on a faculty-led study tour
• Gain experience through internships
• Conduct an undergraduate research project
• Job Openings and Salary Range
• Employment Trends

Producing the Future of Apparel

Clothing is a fundamental human need and today’s garments are made and sold using new technologies and global strategies. The apparel industry is a fast-paced and highly competitive business. It controls billions of dollars of consumer spending globally and is one of the largest employment sectors. Job opportunities range from research, product design and development, buying, sourcing, and manufacturing to merchandising, marketing, branding, and the promotion of retail products and services. Our program is grounded in a product development model that will prepare you for a wide range of career opportunities .

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• One student to one piece of equipment means that you will have continued access to equipment during class
• Sewing machines, 3D printers, laser cutters , looms and embroidery machines onsite
• Access to the Leila Old Historic Costume Collection , with more than 8,000 pieces
• Opportunities to study abroad in fashion capitals like London, UK, or Florence, Italy
• Expand your problem-solving skills through internships and undergraduate research projects
• Join the ATD Club and engage in workshops and field trips

Belts for the Band

University of Idaho students gain hands-on experience in textile assembly line production as part of a collaboration with the U of I Marching Band.

Hops Waste to Fiber

University of Idaho student Maggie Zee researches how to turn hops byproduct into a useable fiber for textiles.

A Swimming Success

ATD students gain industry experience with Nike Swim.